001I saw her standing there (Lennon Mccartney, 1963)

I took the text of the song literally. All the letters from the song are drawn in lying position except the H, E and R which are standing. On the left and the right of HER the T and E. This forms THERE. This is the first drawing where I Used coloured ink. With these coloured pens I have drawn the harts which symbolise the line: “my heart went zoom”. The movement of the hearts gives also expression to the line “we danced all night”

Coloured ink, ink, 

Please please me 


002 Misery (Lennon McCartney, 1963)

One of my sons is model for this drawing. This figure with folded hands over his neck, seen on the back. The misery is enlarged by the dripping paint. The gold paint is for the hope. There must always be hope, despite all the misery.

Ink, acryl, gold paint, 120331

Please please me 


003Anna (go to him) (Alexander, 1962)

 “give me back your ring and I will set you free” was enough to give idea to this drawing.  Knotted rope can be detached when the ring is returned. That’s all, no background. 

Ink and aquarelle, 110304

Please please me 


004Chains (Goffin & King 1962)

“these chains of love got a hold on me” inspired me to make chains where the links take the form of hearts. It was difficult to make one continuing chain but now the viewer has to puzzle very hard to see that I succeeded.

Ink and aquarelle, 101127 

Please please me 


005Boys (Dixon Farrell, 1960)

It was difficult to start to start in the very busy weeks at work. In the weekends there is also to little time. But in the end this has become a drawing where the Beatles figures with their hairdo and their lips. ‘The trip around the world’ is symbolised by lips flying round the earth. ‘The trills’ lightens from the dark to the boys

Ink, acryl, gold and silver, 130202

Please please me 


006Ask me why (Lennon, 1962)

I followed the lines. I should never be blue becomes red. Red for love. Tears (of joy) are dripping over the dripping red paint. That’s all. It is not as simple as it looks

Acryl, ink, 130211

Please please me 


007 Please, please me (Lennon McCartney, 1963)

I worked hard in the holiday on the drawings. This song has become a gift in the shape of a heart. The gift is not opened because in the songs there’s a complaint. A complaint about the one who’s giving more than the other one does. There’s rain because she doesn’t even try to please him as much as he does.That’s why I also have chosen in a contrast between paint (color) and ink (black and white)

Acryl ink, 121231

Please please me 


008Love me do. (Lennon and McCartney, 1962)

A drawing with letters to the Beatles. The texts on the letters are from the book: Love letters to the Beatles. Candy hearts makes the subject lighthearted. 

Ink and aquarelle, 101014

Please please me 


009P.S. I love you (Lennon McCartney, 1963)

This was a difficult one. It was hard to find the right inspiration. A fountain pen with pieces of paper. Parts of the song are written down on the paper. Simple idea for a simple song.

Acryl, ink, 130114

Please please me 


010 Baby, it’s you (Davis Williams Bacharach, 1963)

A pure ink drawing. In an autumn setting there is Lennon sitting behind a window. He is waiting and thinking for his girlfriend. The girl everybody says she’s cheating (on him?). But he’s faithful, hopeful waiting

Ink, 130227

Please please me 


011 Do you want to know a secret (Lennon & McCartney, 1963)

The Beatles used a part from the “wishing well” lyrics from the Disney animation Snowwhite. That’s why I draw the cards with dwarfs and snowwhite as a reference to a fairytale. A fairytale with a secret. The secret about the “pied a terre’’ of Brian Epstein. The pied a terre he used for his boyfriends but that was also used bij John and his , then pregnant, Cynthia. The book with pills refers to Brian Epstein. The letter is addressed to: Dear B….. Beatles or Brian?

Ink and aquarelle,101206

Please please me


012 A taste of honey (Scott Marlow, 1962)

The choice for the drawing was made quick, honey of course! Honeycombs in the background. Paul’s lips in front (Paul is the singer of the song). Hony is dripping from his lips, following the form of the combs

Acryl and ink, 130303

Please please me


013There’s a place (Lennon McCartney, 1963)

The mind/the brains as a place to escape. There was a little doubt to put a parking sign too but that would be to emphatic. The brains are drawn with red ink in an acrylic blue surrounding. Coloured lines twirl and turn and flees in the brains

Acryl, red ink. 130316

Please please me


014 Twist and shout (Medley Russel, 1963)

The twist as a dance, the twist as curls. In the curls the word ‘shout’, continuously repeating. Silhouettes of the fab four in their twisting pose from the Twist and shout sleeve

Acryl, aquarelle, ink 130324

Please please me


015 From me to you (Lennon McCartney, 1963)

This song is written in the car while the Beatles were on tour with Helen Shapiro. Traveling from one place to another and also the lines in the song about giving lips, heart and arms made the idea of a Royal Mail van delivering packages, driving from ME to YOU. So I bought a toy van as an example for the van in acrylpaint on a background of colors. John and Paul, the composers, are glued behind the wheel. 

Ink, acryl, goldpaint, glitter, 150126 



016 Thank you girl (Lennon McCartney, 1963)

This was a thank you to all the fans for their loyalty and love. So what is there to draw when you thanks your girlfriends? I asked a few teenaged girls at my school. They didn’t hesitate a second. “Gift boxes, colours, jewels, lingeries, bling things, surprises”. The bra is prominent present as reference to all the girls who would love to unpack for their idols. What to unpack first? 

Ink, aquarelle, 150216



017 She loves you (Lennon McCartney, 1963)

The boy in the song must be convinced that the girl still loves him. She loves you!  That’s why I choose for a sort of neonletters. And there are also a lot of yeah’s and woo-o’s in the song and they give extra movement to the drawing. Of course a dark surrounding so ‘Shelovesyou’ takes the most attention.

Ink, aquarelle, marker, acryl. 150227 



018 I’ll get you (Lennon McCartney, 1963)

I’ll get you in the end, oh yeah. That sounds threatening, unavoidable. Like pigeons do. A lot of nervous flutter and noise makes it a wish of the male while the female seems to wish other avances first? Maybe you don’t need to be a pigeon to have those wishes. But undoubtedly he’ll get her. :)

Ink, 121119 



019 I want to hold your hand (Lennon & McCartney, 1963)

The song was the band first number-one hit on the billboard hot 100, starting the British invasion of the United States music charts. Beatlemania had started. Therefore the drawing of screaming fans, stopped by U.S. policemen. On the banner: I want to hold you (r hand). The policemen are holding hands as well.

Ink and aquarelle, 101229



020 This boy (Lennon McCartney, 1963
Lennon sings and begs that the girl chooses him instead that other boy. There was already some rivalry between John and Paul so I got the idea of a weather house. This boy (Lennon) for the good weather, that boy (McCartney) for the bad weather. The temperature is rising, love will win. For the weather house I was inspired bij the facade of the Abbey Road studios.

Ink, acryl, 150322



021 It won’t be long (Lennon, 1963)

The house of aunt Mimi is the house where John waited for the one he loved, his mum. It won’t be long, tears come from his eyes but she will come home. Tears (of joy) over the house.

Ink and aquarelle, 110620

With the Beatles


022 All I’ve got to do (Lennon McCartney, 1963)

A receiver combined with an ear. Now there’s a way to whisper the words you want to hear. The whispering is visualised by foam hearts with glitter. 

Ink, foam, glittersand, 130413 

With the Beatles 


023 All my loving (Lennon McCartney, 1963)

Quit a struggle. I wanted something with the opening sentences of the song. That’s is so nice. So I Used an old technique. First I painted the whole paper red over yellow. With a thick gold paint I wrote the sentences: “close your eyes”; “tomorrow I’ll kiss you” and “I’ll kiss you”. Over these sentences I wrote with glue. After that I painted the whole with water restrained black ink. De text will come visual after washing the whole work with water. Through the black and red you can see vaguely the words.

Ink, paper glue, acryl, 130419 

With the Beatles


024 Don’t bother me (Harrison, 1963)

This first song by George Harrison is quite interesting. Don’t bother him. He wants to be left alone. Please, no screaming fans! I found a picture of George sitting on a chair. One hand on his hand, the other hanging down. His head is hidden in a paper bag. In the corner there is a photo of a fan who is holding George like never letting him go. You should get mad! Please hide!

Ink, aquarelle, collage, 130429

With the Beatles


025 Little child (Lennon McCartney, 1963)

I took the title literally, so there is a little child dancing on the feet/shoes of her dad. On the ground a picture of a child playing hide and seek

Ink and aquarelle, 111030

With the Beatles


026 Till there was you (M.Wilson, 1957)

This was a small number 1 for Peggy Lee in 1961 and the Beatles took it in their repertoire in Hamburg. Originally the song was meant for the musical The Music man. In my drawing I followed the lines of the text. There are ‘birds in the sky’; ‘wonderful roses’ in ‘sweet fragrant meadows’. The poppy roses are accentuated with red aquarelle.

Ink and aquarelle, 110904

Original sold

With the Beatles


027 Please Mr Postman (Holland Bateman Garrett Dobbins Gorman, 1963) 

Originally a small hit by the Marvelettes this was also a hit for the Beatles. The postman is asked to hold and look again for a letter or card. Zoomed on the pile of letters, hands in gloves. It’s a cold job inspite of the warm letters he might be carrying. That’s why it’s in black and white also.

Ink, 130508

With the Beatles


028 Roll over Beethoven (Berry, 1956)

Originally a hit for Chuck Berry in 1956, Roll Over Beethoven was sung by George Harrison on The Beatles' second album. The foundation of the drawing is based by the cover of Chuck Berry’s Beethoven single. Instead of a swinging Chuck there’s George Harrison playing guitar. But his head is exchanged for Beethoven. The guitar ends in loose piano keys.

Ink, acryl, 130525

With the Beatles


029 Hold me tight (Lennon McCartney, 1963)

A heartfelt embrace. A bandage is applied to accentuate the tight embrace. Bandage as a bond, a tight bond.

Ink, acryl, 130610

With the Beatles


030 You’ve really got a hold on me (Robinson, 1962)

After “Hold me tight” the next song on the album is “You really got a hold on me”. Because of the fact that in both songs someone is holding the other I decided to make some resembles in the drawings. I made a reflection of the “Hold me tight” drawing and then I winded the persons in rope. Now (s)he’s really having hold. Never letting go!

Ink 130623

With the Beatles


031 I wanna be your man (Lennon McCartney, 1963)

That was a difficult one. What picture was there to make with this song? Finally I have chosen for Ringo Starr in the centre with the Rolling Stones in the background. Ringo because he was the singer of the song; the Rolling Stones because this Beatlesnumber was their first number one hit in the U.K.! Ringo (Starr) seems the most beautiful of all these men. I gave him a sort of aureole, with stars, as if he will be the chosen man in the end. The drawing became a sort of persiflage on Ringo’s wanna be your man aswell on the Rolling Stones.

Ink, aquarelle, acryl 130717

With the Beatles


032 Devil in het heart (Drapkin,1963)

Sometimes I had to think hard about what drawing to make with a particular song. For this song I was quickly sure about the sort of drawing. It had to be a heart with something devilish. There should also be something confusing in the drawing. Well I succeeded in the confusing bit, but is that because I made such a good picture or because I didn’t?

Ink, aquarelle, acryl 130809

With the Beatles


033 Not a second time (Lennon McCartney, 1963)

Lennon’s refusal to try it again (not a second time) gave me the idea of a closed door. A broken door, because of the broken relationship. The door is closed by a used belt. The doorhandle (a phallic form) hangs down.

A intensive drawing, made in the last days of the holiday

Ink, 130825 

With the Beatles


034 Money (that’s what I want) (Bradford, Gordy, 1959)

At first I had the intention to make a collage of real money but that would be to easy but also expensive. So I made a collage of drawn papermoney with silver and golden coins sprinkled all over. It was a lot of work but I worked hard and finished the drawing in three days.

Ink, silver- and goldpaint, 130916 

With the Beatles


035 A hard day’s night (Lennon McCartney, 1964)

The first two sentences made the drawing. Sleeping like a dog reminded me of the sketches I once made of a sleeping dog. So I used those sketches to make again a drawing of a sleeping dog. In the background there is a wooden wall referring to ‘sleeping like a log’. To make the day and night I splattered dark paint 

Ink, acryl. 130929

A hard day’s night


036 I should have known better (Lennon McCartney, 1964)

Lennon played the mouthharp in this song. Therefor there is a picture in ink of Lennon. I found the folded hands around the, not to be seen harmonica, characteristic. It is a bit mysterious. You hear the instrument but you can’t see it. In the right there are manipulated photoprints of Lennon and a small drawing of a part of a mouth harp. Of course it’s a Hohner. The Hohner he has stolen in Arnhem? The Hohnerlogo is from a Hohnerharmonicabox.

Inkt, collage, 131013

A hard day’s night


037 If I fell (Lennon McCartney, 1964)

Lennon sings: ‘cos I’ve been in love before……If I give my heart to you, I must be sure…..”. That’s why I made a hand reaching/giving with a small silver chain with a heart. The background is dark.Not only dark from the past but also that’s not yet foreseen if ‘you will love me more than her’.

Ink, silverpaint, marker. 131117

A hard day’s night


038 I’m happy just to dance with you (Lennon McCartney, 1964)

Not my favourite activity, I can’t dance at all but I can imagine the romantic feeling. I’ve chosen for two teeners who are slowdance dreaming while the adults now better. Reality is not romantic. Also it is not very clear who are the the leading characters. Just like on the dancefloor everybody is looking for the right partner

Ink, 120718

A hard day’s night


039 And I love her (Lennon McCartney, 1964)

Because it’s such a simple song, it makes it difficult. Only the dark night and the shining stars gave a hold. So, no ink drawing but paint. Dark paint in different layers with glitter, holes, tin-foil, more glue and glitter. Dark night to dream away, alone together

Acryl, glitter, glue, tin-foil, 131126

A hard day’s night


040 Tell me why (Lennon McCartney, 1964)

“Tell me why you cried” and “I beg you” were the ingredients for this drawing. Hands folded, begging and in the background vertical lines of black and coloured ink and plastic pearls glued on top of it. The result gives a resemblance to the drawings of ‘Misery’ and ‘Across the universe’ 

Ink, marker, plastic. 131215 

A hard day’s night


041 Can’t buy me love (Lennon McCartney, 1964)

Paul wrote this song in Paris. At first I intended to make a drawing of well dressed Parisiennes from the sixties with a diamond in the middle. But later on the diamond claimed all the attention for itself. So it became a very exhausting inkdrawing with a lot of lines in black as well as in red. In all the geometric forms  you can see a diamond aswell a ring

Ink, 131226

A hard day’s night


042 Anytime at all (Lennon McCartney, 1964)

At first I had an idea of a telephone. But later on I changed to the inside of a clockwork. ‘Anytime at all’ is so many times repeated that time became important in the drawing. ‘If the sun has faded away I’ll try to make it shine’ made a nice detail in the drawing. Between all the black ink wheels there’s one in gold. The sun will shine. It was a very intensive drawing of more than forty hours but I’m really satisfied with it.

Ink, gold paint. 140101

A hard day’s night 


043 I’ll cry instead (Lennon McCartney, 1964)

It’s was temping to make a drawing with tears. But I already did, twice I think. And I found the hiding and breaking hearts more interesting. So I made a man, hiding behind the curtains. A man who’s probably responsible fot the breaking of hearts. It was a lot of work again with the curtains and in the end a cut myself while breaking the hearts. I hesitated in using real blood but it’s just a bit of aquarelle.

Ink, plastic, aquarelle. 140126

A hard day’s night 


044 Things we said today (Lennon McCartney, 1964)

This lovesong was made by Paul for is his girlfriend Jane Asher. I made a drawing of Jane and Paul blindfolded. As Paul sang: “though we may be blind”. But they’re still recognisable in spite of the kitchen towels. It was working at although all the hair was quite a job.

Ink. 140207 

A hard day’s night


045 When I get home (Lennon, 1964)

As far as I know this is the only Beatlessong where cows are wandering about. So, coming from Holland it was a easy choice to make. Of course four!, cows, a bit doubtful, it’s getting dark, lounging towards the door. Sketching, drawing, painting, eventually lots of work. A strange drawing, so is the song

Ink, 120928

A hard day’s night 


046 You can’t do that (Lennon McCartney, 1964)

It didn’t matter what the girl did to make Lennon jealous because there was this cowbell!. The klingklang of the bell is there constantly, so my decision for the drawing was clear. It had to be a cowbell, a cowbell in different positions, also to show the vitality. The cowbell is a inheritance within the family. We used to rang this bell to call (all ten children) for diner.

Ink 140222 

A hard day’s night


047 I’ll be back (Lennon McCartney, 1964)

Lennon is the singer, dressed in black. He’ll be back although she will break his heart again and again. There was a comic about the Beatles in those days. I saw  a resemblance with the melodramatic style of the comics and this song. That’s why I almost copied one of those drawings, added a sobbing girl in the corner and the songtext. We’ll be back to the sixties, it’s comical

Ink, aquarelle. 140304

A hard day’s night


048 No reply (Lennon McCartney, 1964)

Again a disappointed Lennon. His girl went out with another guy. And when he’s at the door, he sees her peeping through the window. She won’t open the door. He is the black/and white part, she is the color. He’s looking back, she’s looking forward.  

Ink, aquarelle, acryl. 140407

Beatles for sale


049 I’m a loser (Lennon McCartney, 1964)

Here’s Lennon in his Dylan period because the word ‘clown ’is in it. Lennon objected at first to the word because it’s a bit arty-fartsy but Dylan had used ‘clown’ in a song so Lennon thought it was all right. So that’s why I made a clownesk Dylan complete with orange hair and mouth and a round red nose attached by a string. For the first time I added the song in the drawing.

Ink, aquarelle, acryl 140420

Beatles for sale


050 Baby’s in black (Lennon McCartney, 1964)

The song is about Astrid Kircherr. Astrid met the Beatles during their Hamburg period. Stu Sutcliffe, the fifth Beatle, became her fiancee. She belonged to the group of Hamburg’ intellectual youngsters who were dressed in black. It is told that it was Astrid who gave the Beatles their, later famous, hairdo. Astrid made pictures with her Rolleiflex from the boys. She made the photos for the album ‘With the Beatles”, for instance. After the death of Stu now there was for Astrid a serious reason to dress in black. That’s why I have chosen for Astrid’s camera, in black surrounding. There letters on the two buttons I replaced in een A and a K. 

A(strid) K(ircherr) Rolleiflex’s in black.

Ink, black spatting, 120106

Original sold

Beatles for sale


051 Rock and roll music (C. Berry, 1958)

I used Chuck Berry already in the drawing Roll over Beethoven. Then I used the pose of Chuck for George. Now Chuck is the leading character while the Beatles seems to explode from Chuck’s energy. Singles and musicnotes reinforce this ‘explosion of rock’.

Ink and aquarelle. 140501

Beatles for sale


052 I’ll follow the sun (Lennon McCartney, 1964)

Maybe the fastest drawing so far. The first idee came while finishing the drawing of Rock and roll music. A simple idee for a simple song. It may be rain so I’ll follow the sun. At first there was a man in the rain with a umbrella walking to the sun. But finally it was only a umbrella, drwan in ink, and splattered sunshine in silver, gold en acrylpaint.

Ink, gold- and silverpaint, acryl 140503

Beatles for sale


053 Mr. Moonlight (R. Johnson, 1962)

In this drawing I have resisted the temptation of a young couple in the moonlight. I tried to draw the sphere of the moonlight instead. It was not easy to make a clear moon in the centre of darkening clouds. Also the transition of the inclines into acrylpaint was an effort. But I am satisfied with the result.

Ink, acryl 140511

Beatles for sale


054 Kansas city Hey hey hey (Lieber Stoller, 1952)

It was not easy to find a good idea. There was not much information. Finally I found a picture of a concertticket and so I had a start. I enlarged the ticket and pasted on a collage of Beatles and fans in concert. changed the numbers and letters of the ticket in 19, 52, W and 60. My year of birth, the first letter of my forename and my age at the moment. Funny that this song is written in my year of birth.

Ink, aquarelle, collage, 140530

Beatles for sale


055 Eight days a week (Lennon McCartney, 1964)

Paul was not licensed to drive because of a fine. So he had to take a cab. The driver was busy, working eight days a week. The idea for a new song was born. I illustrated the hectic bij drawing a block-calendar. The days are torn and crumpled up. Eight pages. 18 is referring to the 18th of October, the day of recording. Friday 4 is referring to the 4th of December 1964, the day the song was released.

Ink, 140629

Beatles for sale


056 Words of love (Holly, 1956)

It became a hit first by the Diamonds and later on by the Beatles. Buddy Holly was one of the favourites of the Beatles. It was Buddy Holly and the Crickets. Beatles, (with an ‘a’) is named after Buddy Holly (and the Crickets). The big glasses had become a trademark of Buddy Holly. The drawing is showing  glasses with on the corners little diamonds and in the one glass a cricket and in the other a beetle. The grass on the bottom shows the lines of the song.

Ink, 140712

Beatles for sale


057 Honey dont (C. Perkins, 1956)

Before we went on summer holiday I started this drawing. I had an idea with the line panting the town . A vague idea of honey dripping letters on a wall. But it didnt work out. So back from holiday I destroyed the drawing and started all over. Now the lines  Sunday morning you dont look right, you’ve been out, stepping around were deciding. Now I was more satisfied. The woman legs, high heels, a glass, a bottle, the hangover.

(color)ink, 140815

Beatles for sale


058 Every little thing (McCartney, 1964)

A very small drawing in the middle. A little thing.

Ink and paint, 110424 

Beatles for sale 


059 I don’t want to spoil the party (Lennon, 1964)

A sixties interior. A record player and singles on the ground. Is there a party, no one is the, she is not there. He’s leaving. Mournful, gloomy. On the wall posters with paintings, loneliness by Caspar David Friedrich, Picasso, van Gogh, Francis Bacon.

Ink, 110721

Beatles for sale


060 What you’re doing (Lennon McCartney, 1964)

Paul is sad. Is relationship with Jane Asher is doubtful. He feels lonely and sad. Feeling blue. This sadness is symbolised by acrylpaint (blue) and tears. If you look very well you can see a sad man in the middle. In the end Jane found Paul in bed with another woman. (they are tarred with the same brush)

140826, acryl, ink 

Beatles for sale


061 Everybody’s trying to be my baby (C.Perkins, 1957)

Again a cover from Carl Perkins. But for the Beatles  a appropriate subject Every girl wanted to be their baby. So, searching for foto’s with screening fans. Not hard to find. With eardrops I made a collage of all the crazy girls. A lot of girls, a lot of work. Therefor only one drawing in the month september

140927, ink

Beatles for sale


062 I feel fine (Lennon/McCartney, 1964)

Simple song. Difficult. Then I got the idea that people in love show it bij scratching their names in trees. Feeling fine. So I made this drawing of a heart and vaguely the letters F, I, N and E scratched in a tree with ivy around. Not easy, but a nice composition after all

Ink and aquarelle, 110422



063 She’s a woman (Lennon McCartney, 1964)

In the beginning of this project I made the drawings at random. But after year of two I started to draw in order of the date the songs were published. So, after the Beatles for sale album there were several singles. The first was I feel fine/She’s a woman. This first song was drawn already in 2011 so now I focused on She’s a woman.

‚She’s a woman, she’s no peasant' is such a funny line that it inspired me to a candid pin-up between the cabbages, leek and tomatoes.

A healthy drawing

141020 Ink



064 Long tall sally (Johnson, Blachwell, Pennyman, 1956)

This song by Little Richard was one of the Beatles’ favourites in Hamburg. The sang it in the obscure rooms near the Reeperbahn, the red light district. The song is undoubtedly about the red light district. Uncle John is having fun with Long Tall Sally, but he’s hiding when Aunt Mary appears. So, there’s an ally with a Sally in the doorway and in the distance a man hiding in the shadow. Of course all this in black ink.

(washed) ink, 141109



065 I call your name. (Lennon, 1963)

Lennon sings: “Oh, I can’t sleep at night since you’ve been gone”. The book on the floor refers to Lennon (it is his book: ‘in his own write’). The titel of the song gets an extra dimension when 10 years after Lennon’s death the song is sung by Ringo Starr in a concert. 

Ink and aquarelle,  101002



066 Slow down (L.Williams, 1958)

Walk with me, talk with me, pleas, slow down!. But she’s moving way to fast to her friend down the street. Although he used to carry her schoolbooks, now he’s done. She’s gone, high heeled, grown up. Paint spatter and strokes express the hurry.

141210 Ink, acryl, glitter



067 Matchbox (Perkins, 1956)

In poverty, people used to take a matchbox to hold their clothes. In the fifties and sixties Matchbox was also a toy, small cars for boys to play with. So I made a drawing of clothes held together with a matchbox. On the matchbox a Bedfordvan. The van the Beatles used in their early days. The drumsticks refers to Ringo, the singer of the song. The peach on the small matchbox refers to a line in the song where is sang: if you don’t want my peaches, you’d better stop shaking my tree.

Ink and aquarelle, 101222



068 Help (LennonMcCartney, 1965)

Again it is very busy on the end of the school year. Despite of less children also next year and that the school will close in a few years we had better results ever! But that won’t change the mind of inspection and schoolboard. It was a challenge, as was this bird eye perspective. Nice working on it. What a coincidence that one the day I ended this drawing my mother broke her hip! Help! Get my feet back on the ground!

Ink, 110708



069 The night before (Lennon McCartney, 1965)

Treat me like you did the night before. He seems surprised she now has changed her mind. She changed in his point of view. That’s why I choose for silhouettes. The outside doesn’t show the inside. Silhouettes embracing, silhouettes, quarrelling. From the night to the day.

(color)ink, 141224



070 You’ve got to hide your love away (Lennon McCartney, 1965)

What was the hidden love Lennon sang about? Was it about Brian Epstein’s homosexuality or was about the many affairs Lennon had during his marriage? The drawing follows the lines of the song. Here I stand with my head in my hands, the face turned to the wall. The people/clowns stare and laugh. A lot of work especially for all the bricks.

(Color)ink, aquarelle 150111



071 I need you (Harrison, 1965)

George is in love with Patti Boyd but she seems not so interested anymore. Did she already met Eric (Clapton?). George is longing for her, he sings he needs her. In the drawing arms are stretched towards Patti in the middle. Patti in a nice sixties dress with the Beatlesalbum in het hand. Help!. The songtext is written in a spiral, starting in the centre.

Ink, 150329



072 Another girl (Lennon McCartney, 1965

Paul is already a bit tired of Jane Asher but not tired enough for other girls. As he sings: “I have got another girl, she’s sweeter than all the other girls and I’ve met quite a few”. A lot of girls crossed Paul’s path (and his bed) and now he has found the perfect girl and sings: “Nobody in all the world can do what she can do”. Well that must be an inflatable girl who will always be there and never argues or protest. So ‘from today he has somebody that’s new’ but he’s a bit in the background as if in shame about his new girl

Ink, aquarelle. 150404 



073 You’re going to lose that girl (Lennon McCartney, 1965)

A nice song. You should take your girl out, give her attention otherwise you lose her. The Beatles liked girls a lot and the girls liked them. The flesh is weak. John was already married and was the first to divorce. The Beatles going out, in black tie, (at the premiere of Help!), Cynthia in the middle. All in black, there will be hearts broken.

Ink, marker 150421



074 Ticket to ride (Lennon McCartney, 1965)

Not an easy one to draw. But the lines  ‘ she’s riding so high’ and ‘living with me would bring her down and never be her free’ gave me the idea for a rollercoaster. Imagine: buy a ticket, get in, go up to the top and then……suddenly, higher, loose from the earth, higher in the sky, free, towards the sun, just a silhouette. Free at last!

Ink, 150514 



075 Act naturally (Russell,  Morrison, 1961)

Is was evident that Ringo would be the main character in this drawing. Not only he was the singer but also because he was the best actor of the fab four.  I used the announcement for the Help movie as a base for this drawing wis Ringo in the middle. He deserves a laurel wreath for his singing and natural acting. In the title role there’s of course Ringo but alsp Russel en Morrison, the composers, and of course Buck Owens. The country singer who sang the song at first. But Ringo (The Beatles) gave an extra dimension to the song

Ink and aquarelle, 150531



076 It’s only love (Lennon McCartney, 1965)

At first the word “butterflies” pops up in the first lines of this song, and than there is the line ”Is it right that you and I should fight very night?” This gave me the idea of a fight between butterflies in the night: moths in the dark. This drawing was a struggle as well. I spattered dark acrylpaint over forms. I glued bandages of those mothforms and later on I removed the bandages. Now the structuur looked a bit damaged. I drew with red (fight) and black ink to get a bit more lines in the moths. It has become a strange drawing, like the song

Ink, acryl, bandage, 150619



077 You like me too much (Harrison, 1965)

They are not married yet but it seems that Patti Boyd and George Harison already have some distance. Not only in this song text. So I made a drawing of George and Patti close to each other but not looking at each other. All over I written the line “you like me too much, and I like you” in a businesslike handwriting, in black and red

Ink 150704



078 Tell me what you see (Lennon McCartney, 1965)

Paul is trying to get through to girlfriend Jane. “Listen to me one more time. Can’t you see that I’m trying to get to you? It is no surprise now, what you see is me”. And there is the idea of a Paul doll as a Jack in the box. Surprise!

Ink, aquarelle 150721 



079 I’ve just seen a face (Lennon McCartney, 1965)

Paul has fallen in love with the face he just has seen (Jane Asher). There’s no one like her. Butterflies in his heart/head. I found a portrait of Jane, looking over her shoulder (see me, I’ve spotted you already). The hair is blending into black shadow. There are the butterflies.

Ink, stamps, 150730



080 Yesterday (McCartney, 1965)

The story tells that Paul had dreamed this song in the house of Jane Ascher, his then called girlfriend. Knowing about his escapades it isn’t just a dream. The working title was ‘scrambled eggs’ and the second line was originally: “oh baby, how I love your legs”

So, that’s why I made a babyfaced, ‘innocent’ Paul, singing and guitar playing with a woman leg instead of a guitar neck. In the foreground scrambled eggs and broken (love) eggs. The inktechnic with dots is meant as shadow (there’s a shadow hanging over me)

Ink, acryl 120726 



081 Dizzy miss Lizzy (Williams, 1958)

It is a song from the fifties, a bit rock ‘n roll. That’s why there are jukeboxes in de wedding cake. “Girl I want to marry you” Miss Lizzy is dancing the jive on top of the cake.

Ink and aquarelle, 101121



082 Bad boy (Williams, 1958)

This one is recorded by the Beatles in 1965. This bad boy loves only rock and roll and behaves badly.. Puts tacks on teachers chairs, gums in little girl’s hair. He even gave the cocker spaniel a bath in his mother’s laundromat. That was a nice subject to draw. So the cocker spaniel in now turning round in the machine with bubbles all over.

Ink, 150822



083 Yes it is.(Lennon McCartney, 1966)

A red dress on a clothesline, between other garments, in the wind. After the party?

Ink and aquarelle, 110514



084 I’m down (Lennon McCartney, 1965)

This is Beatles’ own Little Richard hit. It is one of their wildest rockers and a hit on their live performances on stage, like big stadiums. In front of 50.ooo screaming fans they must have felt very small, down there in the middle of a stadium. So that’s why I drew the Beatles on a small podium line almost at the bottom, down, of the paper. A wall of fans towering all over them. I’m down, we’re down

150915 Ink



085 Drive my car (Lennon McCartney 1965)

The title is in the blues a reference to sex. There are even explicit references like “you can do something in between”. That’s why I chose for a pose of womanless, a tough chauffeur in between. The film refers to the movie star, the woman hopes to become. The film is like a snake, from the crunch of the man, round the legs to the crunch of the woman. The golden background refers to stardom. Of course, there is no car.

Ink, gold paint, turpentine, 120122

Original sold

Rubber soul


086 Norwegian wood (Lennon Mc Cartney, 1965)

John was trying to write about an affair without letting his wife know that he was having one. He was sort of writing from his experiences ... girls' flats, things like that. In those days people were decorating their rooms with pine, cheap pine. The girl in the song makes him sleep in the bath and then finally in the last verse Lennon had this idea to set the Norwegian wood on fire as revenge. I drew a pile of wood in the winter (cold relation) with a burning match in the foreground. Fire and smoke is technical no joke.

Ink and aquarelle, 110401 

Rubber soul 


087 You won’t see me (Lennon McCartney, 1965)

Paul is jealous again and a bit angry that Jane is going her own way. Jane is playing in the Old Vic Theatre in Bristol for several days. Paul wants her around but she has her own public. So I made a drawing of an actress, in a Beatlesdress, with a audience in a theatre inspired by the Old Vic. Four (!) lights give Jane the right attention. It was a lot of work and I’m a bit insecure about the result.

(Washed) ink, collage, aquarelle 151031

Rubber soul


088 Nowhere man (Lennon, 1965)

Lennon sees himself as a blindman who only sees what he wants to see and doesn’t know which way he is going. In Yellow Submarine the Beatles meet dr. Jeremy Hilary Boob. The Beatles call this little coloured man a ‘nowhere man’. In the drawing he is a sort of eye dog. On the background is the house in Weybridge John bought, just married Cynthia, boring himself already.

Ink and aquarelle, 110213

Rubber soul


089 Think for yourself (Harrison, 1965)

The story goes this is all about Pete (Best) who sued the Beatles. Harrison says: think for yourself. But it is also about a girl. I hesitated of making a drawing with Pete best but I came up with balloons as brainscans. Balloons because of the fragile and of the air. Thinking, thoughts floating away.  It became a very intensive drawing also because it is done in a very busy period at school. But iI did the job.

Ink, 151120

Rubber soul


090 The word (Lennon McCartney, 1965)

Quite a confinement. I was very busy changing job, so there was not much time for drawing. I had the idea but it took almost a month before I finished the drawing. I intended to have it look like the posters from the Pop Art. I used the letters from Robert Indiana’s ‘ LOVE’, included the tilted O. The word is love, the word is sunshine, so therefor sunrise.

Ink, acryl, goldpaint. 121226

Rubber soul


091 Michelle (Lennon McCartney, 1965)

One of the most difficult  to draw thus far. A nice song, but what is it all about? Finally it became a ‘paper doll’. With some French images, inspired by French fashion magazines. Compose your own Michelle -  “qui vont tres bien ensemble” 

Ink and aquarelle, 110929

Rubber soul 


092 What goes on (Lennon McCartney Starkey, 1965)

What goes on in your heart, what goes on in your mind? You are tearing (my heart) apart. You ruined my life but now the tide is turning. So there it is, a heart in waves, in the tide. And when the drawing was finished I tore the heart a bit. It hurt a bit.

Colourink, 151209

Rubber soul


093 Girl (Lennon McCartney, 1965)

In an interview in 1980 John claimed this song as one of his best. It speaks about his dream girl, the one he was looking for. “It was Yoko” he said in this interview. However, the girl in the lyrics is far way from a dream girl, she hurts, humiliates and manipulates. Just like the girls in the comics in the sixties. So I made a collage with girls from comics but also from my own earlier Beatlesdrawings. There is also John (from an earlier drawing, also inspired by a Girls romance comic) and a small picture of Yoko. This is the first ‘non-drawing’. The only ink in it is my signature.

Collage, 151225

Rubber soul


094 I’m looking through you (Lennon McCartney, 1965)

Paul is not happy with Jane. She’s going her own way (as an actress). He sees through her. He sees she’s changed, that he’s changed, that their relationship is changed.

I liked the idea of looking through someone. So I made a drawing of Jane (lots of hair) but without her face. Looking through her, there’s the song text and on the right the eyes of Paul.

Nice working on it in the last days of 2015

Ink, 151230 

Rubber soul


095 In my life (Lennon McCartney, 1965)

Peter Shotton, a friend of Lennon, advised Lennon to write about his life. The sentence ‘some are dead and some are living’ refers to Stu Sutcliffe and Peter Shotton. Stu was playing guitar in the Hamburg period. Stu stayed in Hamburg with Astrid Kircherr and died a few months later. I made a drawing of a photoalbum with John with aunt Mimi, with George and Stu in Hamburg, with his first wife Cynthia and with Paul and other artists in the cavern.

Ink, 111230

Rubber soul


096 Wait (Lennon McCartney, 1965)

A real Paul song. Paul is coming back home and the girl is now to chose between turning away or to hold on. But she’s had to wait. It gave me the idea of  an on-off relationship. A sort of traffic light: Stop, wait, walk. Therefore this time no drawing but adhesive glittering plastic as for the glass light and four adhesive letters. Hope it will stick over the years. Just wait.

Adhesive plastic, 160101

Rubber soul


097 If I needed someone (Harrison, 1965)

A Harrison song. He will call her, he writes her name and number on the wall. A wall telephone compleet with the instructions how to use it and when to insert the coins (the song would be totally different with the Iphone from this century). Writings on the wall, “If I needed someone”  in several different languages, telephone numbers made up from data of the recording of this song.

Ink, colourpencil. 160125

Rubber soul 


098 Run for your life (Lennon McCartney, 1965)

I was intrigued by the death thread of the little girl. He rather sees her dead than with another man. She is advised to hide her head in the sand. So there is the The Dead. Not a skeleton but his symbol, the scythe and crows of course. One crow is waiting, the other one is already attacking. And she is hiding in the sand. Already dead? 

Ink, glue, modelbau sand, 160212

Rubber soul


099 Day tripper (Lennon McCartney, 1965)

In ‘Many Years From Now’, McCartney said that "Day Tripper" was about drugs, and "a tongue-in-cheek song about someone who was ... committed only in part to the idea." The line recorded as "she's a big teaser" was originally written as "she's a prick teaser. Along with sentences like: tried to please her, she only played one night stands’ the idea was born of a prostitute and a ‘Sunday driver’. A dark drawing, a trip in the night. 

Ink, 110707



100 We can work it out (Lennon McCartney, 1965)

An interesting song about arguing, having a sort of fight. I got the idea of boxing. Boxing gloves looks a bit like persons. So there there are two gloves ‘looking’ to each other, a bit insecure. Will they fight or make it up as friends?

A lot of drawing work in between a trip to Boston and a lot of work at my school.

Ink, 160320



101 Taxman (Harrison, 1966)

In the song there is a reference to the political leaders of those days, Wilson and Heath. Because of the many photo’s of Wilson with je Beatles, probably in a sort of humorous interview, I took Wilson as a taxman. He lits his pipe with a pound note and so all the taxonomy goes up in smoke. There are pennies on his eyelid, so he can pay the ferryman when he’s dead (see the last sentences in the song).

It was a nice drawing working on, along with the collage.

Ink, collage 160417



102 Eleanor Rigby (Lennon McCartney, 1966)

The loneliness of Eleanor, the open grave, an English church, father McKenzie turns his back

Ink, 110612



103 I’m only sleeping (Lennon McCartney, 1966)

John likes to sleep, dreaming, drifting away from the world, hiding between the blankets. This time, Teun is my model. He’s a good sleeper also. A vague figure under white blankets. A reference to the, yet to come, bed-inn of John and Yoko also in white. There’s also a resemblance to one of the first drawings (five years ago!) I’m so tired.

Ink, 160425 



104 Love you to (Harrison, 1966)

A beautiful love song by George. This song, on the Revolver album, was the first in Indian style. Indian musicians played on sitar, table and tambura. So, the choice for the drawing was easy. The background with a overprint of Indian patchwork completed the cross-over.

Ink, colorprint, trichloorethyleen, 111212 



105 Here, there and everywhere (McCartney, 1966)

Just a simple song, no story. I found the character issues in holding each other, caressing each other. Coloured arrows refer to hand, feet, body, ear, hand, eye (Paul’s).

Ink and aquarelle 110119 



106 Yellow submarine (Lennon McCartney, 1966)

The submarine is too well known to use in my drawing. So I choose the line: “we lived beneath the waves”. That’s why I have drawn 4 (!) divers in a sea of green. The drawing has a similar atmosphere as in the well known images and movie. There is something strange, something untouchable. But everybody has his own interpretation.

Ink, aquarelle, color pencil, 120313



107 She said, she said (Lennon McCartney, 1966)

The Beatles needed a holiday after their tour in the U.S.A. so Brian Epstein rented a house in Beverly Hills. There were many visitors, invited as well not invited. Harrison and McCartney were hiding under umbrellas for the fans who flew round the house in helicopters. There was LSD. The Byrds and Peter, “who knew what it was like to be dead”,  Fonda came for a visit. 

So it was a pretty bizarre trip in Beverly Hills. Therefore a made a sort of collage of drugs and helicopters.

Ink and acryl, 120324



108 Good day sunshine (Lennon McCartney, 1966)

A lot of sunshine, burning your feet on the ground, shadow under a tree. So I tried to make al to of sunshine with acrylpaint, gold paint and plastic pearls. A suggestion of leaves and a bit of shadow. Some leaves drawn with ink. Hope that the non-colourblind sees the colours like I intended :)

Acryl, goldpaint, plastic, inkt 160508



109 And your bird can sing (Lennon, 1966)

Lennon sings about a girl, a ‘bird’. But he’s mocking her. She has everything but she can’t get him. Despite having it all she is still getting bored. He’s around but she doesn’t hear him. That’s the reason I’ve chosen for this lonely bird, this mockingbird. Alone on a trench, whistling his tune

Ink, 120515


110 For no one (McCartney, 1966)

In 1966 is Paul wis his girlfriend Jane Asher on holiday in Swizerland. After a quarrel he writes this song in the bathroom. Through the window there is a view on the mountains. The bathroom is in black and white, the view is in color. This contrast stands for the quarrel, so do the fluttering music papers, thrown away in anger.

Ink and acryl, 120421 



111 Doctor Robert (Lennon McCartney, 1966)

Probably, there’s meant doctor Robert Fryman from NYC. He was famous and notorious because of his descriptions of pills and injections. Lennon recognised much of himself in the song. Lennon told that on tours, he was the one who had always all kind of pills to ‘survive’.

As a matter of course I made a deadly doctor with a deadly read background. I worked on the drawing in the last school weeks, ik the last weekend I sprayed the background and finished the needles

Ink, silver paint, car paint, 120617 



112 I want to tell you (Harrison, 1966)

Not so easy to get an idea of this song written by George, the so called quiet Beatle. And with a head filled with words he’s not even talking at all. That’s why I took the drawing of the Revolver sleeve. He’s staring right at you, mouth shut, his heads filled with thoughts to tell. Tell to Patti (Boyd). So I did a full copy of George’s head with Patti in the same style. A lot of work, a lot of hair after all. Something to talk about.

Ink, 160721 



113 Got to get you in my life (Lennon McCartney, 1966)

“It’s all about pot” said Paul when asked about this song. Paul liked double meanings. In this songs it looks like its all about a girl but in the meantime he likes to get pot/cannabis/marihuana in his life. There was no hesitation, marihuana must be drawn, a life (drawing) full. And to be sure he will let the other Beatles also get it in their life as-well there are four little bags with real good stuff in the drawing. Hope you resist the temptation.

Ink, aquarelle, plastic, marihuana, 160728



114 Tomorrow never knows (Lennon McCartney, 1966)

John wanted to sound his voice to sound like the Dalai lama chanting from a hilltop. He borrowed the first line of the song from the theme of ‘the psychedelic experience’  written by the famous Dr. Timothy Leary: “Turn off your mind, relax, and float downstream”.

So there’s the Dali lama, in the batboy of Timothy Leary floating downstream on op-art waves. The seagulls stands for the shrieking sound you hear in the background of the song

Acryl, aquarelle, ink



115 Paperback writer (Lennon McCartney, 1966)

Between all the fuss, inclusive an application for a new job and the acceptation of this new job, I find enough time  to make this drawing. A collection paperbacks, some covers inspired by Pinguin, Also a reference to the Daily Mail, pen and ink. The song is pictured. Paperback drawing.

Ink. 121015



116 Rain (Lennon McCartney, 1966)

Sometimes it’s raining cats and dogs. Even worse it was in Melbourne in 1966.The grumbling of the people on the weather was for Lennon reason to write this song. People hide behind umbrellas in the pouring rain. The rain is simulated with pitter-patter of diluted paint. Home at last, off goes the wet clothes, a hot coco by the fireplace.

Ink and diluted paint, 110916



117 Strawberry fields forever (Lennon McCartney, 1967)

The title of the song is inspired by the Children’s Salvation Army, close to the house of John Lennon. In the bewildered garden Lennon had a beautiful place to play with his boyfriends. Like McCartney’s Penny Lane is Strawberry Field for Lennon a memory from his childhood.

I have chosen for strawberry’s all over, they seem to roll through the entrance, the former gate of the Salvation Army. There was a temptation to use color but Children Salvation Army sounds so dark. That’s why I used the black and white only.
Ink, 120409



118 Penny lane (McCartney, 1967)

Following the lines in the song, with a Dinky Toys fire engine, a pretty nurse behind the wheel, selling poppies. (Dinky toys was a popular boy toy in the fifties and sixties). The barbershop that used to be in Penny Lane, in the background.

Ink and aquarelle, 111106



119 Sgt. Pepper’s lonely hearts club band (Lennon Mccartney, 1967)

The story goes that Mal Evans asked about the meaning of the S and P on the little bags along with the meals in the plane. The ‘pepperband’ is meant as the alter ego of the Beatles. In the title song Billy Shears is introduced. Billy Shears as alter ego of Paul McCartney. There where rumours that Paul died in a car-accident. Already in 2011 I made a drawing of Sgt. pepper but I was not satisfied with the result and I destroyed the drawing. Now I made a collage of a brassband. A band with almost the similar clothes as the Beatles on the inner sleeve of the album. When the collage was finished it looked a bit like the collage of all the people on the front of the album (made by pop artist Peter Blake).

Collage, aquarelle, goldpaint

Sgt. Pepper’s lonely hearts club band 


120 With a little help from my friends (Lennon McCartney, 1967)

Originally the text began with: “What would you do if I sang out of tune? Would you stand up and throw tomatoes at me?” Ringo objected. “There’s not a chance in hell am I going to sing this line.” he was worried the fans might pick up the suggestion! I picked up the idea indeed and there’ Ringo amidst tomatoes.

Ink, paint (red of course) 160926

Sgt. Pepper’s lonely hearts club band


121 Lucy in the sky with diamonds (Lennon McCartney, 1967)

No diamonds, no Lucy either. I have chosen for the inside of a London cab with a rocking horse. So the song goes: “climb in the back” with “rocking horse people”. “a head in the cloud” is shown by the clouds in acrylic paint. 

Ink, acryl, 120501

Sgt. Pepper’s lonely hearts club band


122 Getting better (Lennon & McCartney, 1967)

For this song I have all ideas from the song itself. There is a schoolboy, a young Paul McCartney, holding a book. On the cover a drawing of a man beating his wife. In the corner there is a woman crying.There is also a ostrich. “I used to get mad at school”; “I used to be cruel to my woman”; and “….is hiding his head in the sand”.

Ink and aquarelle, 110223 

Sgt. Pepper’s lonely hearts club band


123 Fixing a hole (Lennon McCartney, 1967)

I always had the idea of making a drawing of a hole in a tile roof. As Paul told: fixing is also about marihuana. “ Fixing a hole and stops my mind from wandering”. I must be an old roof with moss between the tiles.So, between the tiles I sprinkled some ‘moss’ and grass. The grass is a bit of marihuana what was left fro the ‘Got to get you into my life’ drawing.

It’s for the viewer if I’m succeeded in fixing the hole.

161017, ink, aquarelle, toy moss, marihuana

Sgt. Pepper’s lonely hearts club band


124 She’s leaving home (Lennon McCartney, 1967)

The moment the mother is at the top of the staircase and cries out: Daddy, our baby’s gone!” is to my opinion crucial for this song. So that’s the subject of the drawing.You can see a dressing-gown, a bit colourful shabby kind of thing and a hand holding a letter. And a staircase, looking downwards. And when you’re looking good you can see a part of a door, slightly open. The whole staircase is of a bit old fashioned wood, dull, not for young people. The text in the letter is the text of the song itself and there are also three other pieces of paper flying downwards. Daddy!; Our baby; Gone!

161028 (Colour)ink

Sgt. Pepper’s lonely hearts club band


125 Being for the benefit of Mr. Kite (Lennon McCartney, 1967)

On January 1967, the Beatles were in Kent where John visited a antique store. There he bought a Victorian poster announcing Pablo Fanques’ Circus Royal. All the main characters from the poster he used in this song. In my drawing I used the portrait of Pablo Fanque, the lettertype and the meander on the edge of the poster. I made a drawing with the so called ‘ somersaults’, a kind of flip over in air. There was a horse at first but it bolted, probably to make way for the trapeze workers with pommade and moustache.

Just like the old poster, only in black and white.

Ink, 161113 

Sgt. Pepper’s lonely hearts club band


126 Within you, without you (Harrison, 1967)

‘ People behind a wall of illusion, hiding the truth, but with our love we could save the world, together’. That is the message in the song. Therefor there are waves of brushstrokes, silver paint makes a sort of barrier/wall. Silver stands for reflection, illusion. On one side there are people, together. Totally it has become sphere, and to my opinion a positive one. Like the song.

161117, acryl, maquette figures

Sgt. Pepper’s lonely hearts club band


127 When I’m sixty four (Lennon McCartney, 1967)

It was a suggestion of my son a few years ago to work in chronologic order with the songs. Maybe that’s why I worked on this song in the same month that I myself became 64?

I liked the idea of the bitting a sweater near the fireside aswel as sending postcards. So there are postcards of the Isle of Wight, a grandma with three children, an instruction how to mend a fuse and a postcards of weeds. All seen through the knitting.

Ink, collage, singed paper 161231

Sgt. Pepper’s lonely hearts club band


128 Lovely Rita (Lennon McCartney, 1967)

A typical Paul song, as John said. To much romantic fantasy. I used a drawing of a (wonder)woman from the comics from the sixties. The boys fantasy of wide breasted women in to small suits. With the uniform like coat and cap it fitted in the imaginary world of the song. On the background a parking meter. The time (of Paul?) is expired.

Ink, aquarelle, acryl. 170106 

Sgt. Pepper’s lonely hearts club band


129 Good morning, good morning (Lennon McCartney, 1967)

John is bored to death and is laying on the bed or on the couch for weeks. In the background there is always the flikkering and noise of the television. And every morning there is the advert of Kelloggs awakening him from is ‘dull life’. The goor mornings in the advert inspired John for this song. So there is now a rooster with the word Lennon instead of Kellogs and a (black and white) television instead of a plate with cornflakes.

Acryl, washed ink, 170123

Sgt. Pepper’s lonely hearts club band


130 Sgt. Pepper’s lonely hearts club band (reprise) (Lennon McCartney, 1967)

The reprise is almost similar to the Sgt Pepper collage. Made at the same time but with a slightly different composition. Also there is a difference in the drum in the foreground and there’s silverpoint instead of gold. The men look still lonely.

Collage, aquarelle, silverpaint 

Sgt. Pepper’s lonely hearts club band


131 A day in the life (Lennon McCartney, 1967)

I liked this song and the four thousand holes in Blackburn, Lancashire so that they knew how many holes it takes to fill the Albert Hall? The originally idee of pricking holes in a drawing of the Albert Hall was changed after I finished the (intensive) drawing. After I filled the hall with so many people I made several heads full circles. With a bit of silver it looks a bit like holes, although not 4000!.

Ink, silvermarker, 170216

Sgt. Pepper’s lonely hearts club band 


132 All you need is love (Lennon/McCartney, 1967)

The song was first performed by the Beatles on Our World, the first global television link. Watched by 400 million in 26 countries, the program was broadcast by satellite. The balloon represents the fragile world. Love (is all you need) is perhaps the solution to all the suffering. Hence the heart shape. And the satellite in the black ink universe. Two refills and five ink pens later I signed the drawing.

Ink and aquarelle, 110112



133 Baby, you’re a rich man (Lennon McCartney, 1967)

Lennon is singing about the beautiful people, the hippies. They wondered how it would feel to be one of the beautiful people. Semi-ironic, semi-psychedelic the message according to John was that they should stop moaning. “You’re a rich man, I’m a rich man, we’re all rich men, hey, hey. My drawing has some ironic also because of the the photo I used where the four posed in a forced cheerful way.  With rich/beautiful clothes on I made a sort of cartoon. First in black and white lines and after that I coloured the whole thing with a bit psychedelic colours. (So there is also a possibility of a black and white print. You can colour yourself)

Ink, colour pencil, 170303



134 Magical mystery tour (Lennon McCartney, 1967)

Roll op, roll up for the mystery tour! was an invitation for a trip that can be interpreted differently. Paul told that it was also a reference  to rolling up a joint. Nicer than drawing a yellow blue bus it is drawing a (s)trip of how to roll up a joint. So up to the grow shop and ask to roll up a joint for me and make several photos. After that I made the drawing in ink with yellow aquarelle (the bus) in the background.

Ink and aquarelle, 170325

Magical mystery tour


135 Your mother should know (Lennon McCartney, 1967)

In this song Paul is inspired in the great Hollywood productions of the music hall. In these Busby Berkely shows there are a rows of girls dancing, tapdancing and even swimming, all in a synchroon chorus line with big orchestras. Was inspired bij the image of the Beatles coming down the broad stairs in the Magical Mystery movie, singing: Your mother should know. I made this collage of the four Beatlesmothers each in a chorus in many colours. 

Collage, 170415

Magical mystery tour


136 I’m the walrus (Lennon McCartney, 1967)

Lennon heard that there was a English master who was making his class analyse Beatles' lyrics. So, Lennon, amused that a teacher was putting so much effort into understanding the Beatles' lyrics, wrote the most confusing lyrics he could. Lennon remarked to Shotton, the Beatles official biographer, , "Let the fuckers work that one out.". The walrus is a reference to Lewis Caroll’s “The walrus and the carpenter”. In 1970, in his solo song “God” he sings: “I was the walrus, but now I’m John”. It is claimed that the eggman is Eric Burdon. Eric’s nickname was ‘Eggs’ because of his fondness for breaking eggs over naked  women’s bodies.

Ink and aquarelle, 110129 

Magical mystery tour


137 The fool on the hill (Lennon McCartney, 1967)

During Tarot reading Paul always pulled out the card of the Fool, which symbolised innocence and childhood. Inspired Paul wrote a song about someone like the Maharishi. The guru was often called a fool, and because of his giggle not taken seriously. There is the Maharishi on the hill, well a bit above, with a sky filled with yellow sunshine. It shows hope, happiness and positive energy. Also according the Tarot the white in the rose, the sun and the sleeve of the Maharishi represents purity and how external forces of good guides the Fool. The snow capped mountains shows lessons and challenges that awaits. And the hill shows that the Fool is not aware and does not care for what goes around.

On the edge there is is a quote of the Maharishi himself. :)

Ink and aquarelle, 170416

Magical mystery tour


138 Flying (Lennon McCartney Harrison Starr, 1967)

This co-production of the fab-four is only instrumental. No text, just improvise, simply flying. There it is, fold a paper and let it fly.

Ink and aquarelle, 160522

Magical mystery tour


139 Blue jay way (Harrison, 1967)

George has a house in L.A. He’s waiting on his friend who are delayed because of the fog. This drawing was quite an effort. The American cab and the road sign was easy to draw in comparison with the street plan. I used dots instead of lines to give it a bit of diffuse image. A little color brushed with water over the drawing was to make it a little unsharp. Fog over L.A.

Ink, aquarelle, 120218

Magical mystery tour


140 Hello, goodbye (McCartney, 1967)

Alistair Taylor, who worked for the Beatles' manager, Brian Epstein, had asked McCartney how he wrote his songs, and McCartney took him into his dining room to give him a demonstration on his harmonium. He asked Taylor to shout the opposite of whatever he sang as he played the instrument—black and white, yes and no, stop and go, hello and goodbye. It was very difficult to draw this song. Should I think of waving hands, an embrace, an airport? I choose for combination of words in aquarellecolours with a background in ink from dark to light. With the colours it makes a joyful hello, goodbye

Ink and aquarelle 110208



141 Lady Madonna (LennonMcCartney, 1968)

This song is about all mothers who has to work so hard. That gives associations with the comics of powerwoman and also with the posters of the woman with muscles on the ‘we can do it’ posters. Because of the name Madonna there is also a association with the virgin Mary.

In a comics style I combined a 16e century madonna with child and a picture of superwoman with child. The headscarf and hair are reference to the woman on the posters. The children at her feet are inspired by the Rafaelangels. The angels and clouds on both sides is a reference to the line ‘that money is heaven sent?’

Ink, aquarelle, 170503

142 The inner light (Harrison, 1968)

The Beatles liked this song so much that it was chosen on the flip-isa of the Lady Madonna single and therefor the first Harrison song on a single. The lyrics were inspired on poem 47  of the Tao Te Ching by Lao Tzu. The verse was recommend to George by a professor in Sanskrit after hearing ‘ Within you, without you’ . George set the chinese text to indian music. Reading the verse 47 I noticed much resemblance with the song. The closed door and window makes a good composition wth the chinese characters. These characters tell the verse (I hope I did them well)

Ink, 170521


143 Back to the U.S.S.R. (Lennon McCartney, 1968)

In the midst of the Cold War the Beatles (Paul) composed this song. A heroic song about the beautiful and fantastic Russian girls There was special attention for the girls from the Ukraine.There is enough propaganda from the Sovjets about fierce women working in the factories and in the fields. Now you see a ferm, heroic woman in the middle, her hands round a shovel. She’ s making a pile of golden grain what will sucked up by the phallic machine behind her back. Other women, also holding sticks, are in the same yellow golden landscape under a blue sky. 

Ink, gold-ain’t, glitter 170711

The white album

144 Dear prudence (LennonMcCartney, 1968)

Prudence was the sister of Mia Farrow and was also among all the fortune seekers in India with the Maharishi. While her sister was fooling around, she was seeking a higher level. She was the closest to God according to John. But the boys were trying to get out of het cave and this song is all about their efforts. John is singing about clouds of daisy chains. Daisy stands for eternal beauty, is also known in relation of the virgin Mary. Love of the made (meadow).

Flowers in your hair. That’s why there are just daisies in a blue sky.

Acryl, 170625

The white album

145 Glass onion (Lennon McCartney, 1968)

The answer of Lennon to all the interpreters of their songs was Glass Onion. Besides references to former songs as ‘Lady Madonna’ , ‘Strawberry fields forever’, ‘the fool on the hill’ and I’m the walrus’ there are also bent backed tulips, a dove tail joint and a glass onion.”Let them sort this out’, so Lennon said. I sorted it out by with my own interpretation. Glass onion stands for transparent and double layers. I made a collage with cuts of a onion glued on a ocean blue paper. On the foreground a college of prints of the for songs mentioned. A transparent drawing on perspex covers it and makes it a whole.

(gold and silver)Paint, collage, perspex 170714

The white album 

146 Ob la di, ob la da (Lennon McCartney, 1968)

It was not John’s favourite, this song of Paul but it turned out the most popular song of the album and the most covered. The retuning rhythm of the obladi’s and -da’s was the reason for just working with these simple lines (ob al di, ob la da, life goes on bra, ob la di ob la da, how live goes on) and stamp all the letters in regular irregular lines. 1350 stamps, life goes on, stamp, stamp

Ink, 170810

The white album 

147 Wild honey pie (Lennon McCartney, 1968)

This small instrumental, the Beatles not sure about it but Patti Harrison (Boyd) liked it. That’s why they decided to leave it on the album. It’s also a reference of another song on the album, Honey pie. Because the two are almost made at the same time I made two Honey pie’s. This is the wild one where a silver screen star is looking a bit wild/arrogant with waving red hair and with prints of black and white stars as a frame on both sides. (see also: 168 Honey Pie)

Ink, aquarelle, glue, moviestarcards, 170819

The white album


148 The continuing story of Bungalow Bill (Lennon McCartney, 1968)

In the ashram in Rishikesh John wrote many songs. For this particularly song he was inspired by the strange behaviour of one of the devotees. This guy took a brake between all the meditations to shoot some poor tigers and then come back to commune with God. John made a caricature of him halfway between Jungle Jim (the American comic strip by Alex Raymond) and Buffalo Bill.
I composed several drawings of Jungle Jim to make this intensive inkdrawing.

Ink, 170926

The white album 

149 While my guitar gently weeps (Harrison, 1968)

Take the title and draw a weeping guitar? To obvious. Weeping tears. Tears in guitar form, gentle blue drops. Between and over the drops the repeating line: “while my guitar gently weeps”.That’s all

Aquarelle, ink, 171006

150 Happiness is a warm gun (Lennon McCartney, 1968)

John got a gun magazine. On the cover there was a smoking gun with the text, “Happiness is a warm gun”. John thought it quit insane because a warm gun means that you just shot something or someone.. He made a song round this idea with more strange sentences. The Mother Superior stands for Yoko who he used to call ‘ mother’ when they were together. He was accused of alluding heroin which got the song banned from the BBC.

In my drawing Yoko oNo and a Smith & Wesson have a prominent place. Out of the gun there is a heroinneedle. The background is filled with fronts of different guns like on the frontpage of the American Rifleman magazine of 1968.

Ink, 171018

151 Martha, my dear (Lennon McCartney, 1968)

It sounds like a love song for a duchess but it is a love song about  a dog! The English sheep dog of Paul himself. And as Paul says afterwards: “ our relation was pure platonic, believe me!”

Ink, 111127

The white album

152 I’m so tired (Lennon, 1968)

John wrote this song at the transcendental meditation camp when he could not sleep. The Beatles had gone on a retreat to study with the Maharishi in India. John missed his soon-to-be wife Yoko Ono, and was plagued by insomnia. He smoked a lot. That is why there is a tin of tobacco, brand Sir Walter Raleigh but with the face of the Maharischi, going up in smoke. John sings: “and curse sir Walter Raleigh, who was such a stupid”. In the drawer there is a book by Yoko Ono. The alarm clock is ticking, the night is long

Ink and aquarelle, 101219

The white album


153 Blackbird (McCartney, 1968)

Blackbird is used by Paul McCartney as a metaphor for a black woman who stands for her civil rights. For my drawing I did research on Rosa Parks ( the black woman who refused to get up from her seat. She was sitting on a ‘white chair’). In the drawing the woman, with shopping bags on her seat and on the floor,  is staring out of the window while a blackbird is flying out of the bus from the dark to the light.

Ink and aquarelle, 101114

The white album 

154 Piggies (Harrison, 1968)

George wrote ‘Piggies’ as an indictment of society and morality. Pigs is also slang for police, authority. It was said that the white album had something to do with Charles Manson and the Tate-murders. Charles Manson had written “death to pigs’, ‘political pigs’ and ‘pigs’ on the wall, with the blood of his victims. In the song there is a line: “clutching forks and knives”. There were really forks and knives stabbed in the victims. So, there is a drawing of piggies with police helmets, holding forks and knives. On the background dripping words.

Ink and aquarelle,101226

The white album 

155 Rocky raccoon (Paul McCartney, 1968)

In 1968 Paul wrote, on the roof of the ashram in India, the western song Rocky Raccoon.  

A parody on western movies. Rocky wears a raccoon hat (like Davy Crokett). Paul himself liked  the part about Gideon’s bible, as if Gideon was a person instead of a society. Of course, the doctor is drunk, that’s why the bottle of gin in the background.
Ink and aquarelle, 110414 

The white album 

156 Don’t pass me by (Starr, 1968)

“You were in a carcrash and you lost your hair” is the crucial line for this drawing. Ringo, who at first thinks that his girlfriend is leaving him because she is too late. “Don’t pass me by” But she is involved in an accident and that’s why she’s late. In the drawing it is Ringo himself who is sitting on the drivers seat, hair is blowing off his head, rings on his fingers, drumsticks on the carfloor. A complicated drawing which took a lot of working hours

Ink. 111023

The white album 

157 Why don’t we do it in the road? (Lennon McCartney, 1968)

On the roof of the ashram, Paul saw monkeys copulating and wondered why people didn’t do ‘it’ in the open. He must have been on a very high level to ask himself such deep questions. :) The song text doesn’t reveal a answer on this psychedelic question. It became a very neat drawing with much attention on the asphalt.

Ink, 171106

The white album


158 I will (Lennon McCartney, 1968)

Paul had “ I will” as a melody for years but he did not have lyrics to go with it. He kept searching for better words and finally in the ashram he found the right words. Very simple words, straight love-song words, quite effective. Well, there’s a simple drawing, two rings entangled on a cushion. I will.

Ink 171118

The white album

159 Julia (Lennon McCartney, 1968)

John wrote this song as a tribute to his mother. As he told he lost her twice. The first time when he was 5 and had to live with his aunt Mimi because Julia was not able to take care for John, the second time definitely when she was killed in a car accident when John was seventeen. It was, according to John, a sort of combination of Yoko (means in English: Oceanchild) and his mother blended into one. In the song there are references to ocean child seashell eyes, floating sky, morning moon, silent cloud, Therefor a blue drawing with two seashell moons. Two for the eyes, two for the double lost.

Ink 171209 

The white album

160 Birthday (Lennon/McCartney, 1968)

Of course! Balloons, confetti, color, serpentine, Chinese lanterns, festoons and Beatles-characters and we have a party. 

Ink, colour ink and acryl

The white album 

161 Yer blues (Lennon, 1968)

And then there is Yer Blues. The song refers to suicide and is inspired by Bob Dylan’s ‘Ballad of a thin man’ In that song there is a man, or is it a camel, entering a room. The camel puts his eyes in his pockets and brings his nose to the ground. In the Beatlessong there is this line and the eagle picks my eye. All this gave me the idea of the carcass of a camel (dead) with a eagle picking the the best out of it. In the background: black clouds crossed my mind.


The white album

162 Mother nature’s son (Lennon/McCartney, 1968)

This song was inspired by a lecture on nature by the Maharishi. John was inspired by the lecture to write I’m just a child of nature, which was later released on his solo album as “Jealous guy”. Paul cultivated a sincere love for nature was was strengthened later on by Linda Eastman. The couple devoted their lives to the defence of the planet. The song is merely Paul’s work than a Beatles recording. Because of this love for nature and defending the planet and the word ‘son’ in the song I have chosen for a child. A child on a garbage belt but in the backgrounded there’s a English country with the stone walls as a sort of border between the filth and the clean land.

Ink, watercolour

The white album

163 Everybody got something to hide except for me and my monkey (Lennon, 1968)

Lennon used to call Yoko his monkey. And with their first album Two Virgins, they really had nothing to hide because they were both star naked. That’s why I took part of their photo, the most naked parts, surrounded by monkeys. One of them has his pas before his eyes. See nothing, hear nothing. So it has become a bit naughty drawing.


The white album 

164 Sexy Sadie (Lennon/McCartney, 1968)

Maharischi, you little twat, who the fuck do you think you are? … oh you cunt. This would have been the first lines of this song that Lennon wrote when he heard his guru had been making on his female students, like Mia Farrow. Harrison convinced Lennon to change the lyrics. I altered the Maharishi in a naked unattractive fat buddha. Instead of roses and carnations there are anthuriums. These phallic flowers have a nickname in Holland: “pik op een bordje”. Flowers wilt, so did the guru.

Ink, washed colorpencil

The white album

165 Helter skelter (McCartney, 1968)

Paul's Helter Skelter was an attempt to create a rock 'n' roll song as loud and dirty as possible. It later became one of The Beatles' most notorious songs, after Charles Manson interpreted it as a symbol for Armageddon. 

The sound, which has been described as a prototype for 1970s heavy metal sounds, was an attempt to outdo The Who. In an interview, Pete Townshend had described their single ‘I Can See For Miles’ as the group's most extreme sound to dte. Helter skelter is not only a disorderly haste or confusion but also stands for a ride in a roller coaster. In this drawing I have chosen for a disorderly composition and style


The white album

166 Long, long, long (Harrison, 1968)

This beautiful ballad was inspired by Gorge’s growing religious faith. The “You” in the song is “God” so George said. Simple words for a clear message. I used all the words in a handwriting in blue, seen through broken glass which gives it a bit transparent image. Just as transparent religion, God, is. The broken glass is given by the winebottle that fell on the ground during the takes and what created that strange finale in the song.

Ink, watercolour

The white album

167 Revolution no. 1 (Lennon/McCartney, 1968)

Revolution no 1 was intended to be much longer but the sounds experiments and the shouting with words were transferred to  the longer Revolution no. 9. John wanted this version also as a single but the other Beatles objected. This version was to slow in their opinion, so the single version was a more uptime, more energetic. The text in all the versions is merely the same; about revolution, Cuba, Mao and Vietnam. Because the impact on the youth of the Vietnam war I decided to make three drawings, all about Vietnam. This first one is about the young American soldiers on the ground fighting a lost war despite all the U.S. power, despite all the choppers. Of course black and white.


The white album

168 Honey pie (Lennon/McCartney, 1968)

Wild honey pie (see 147) and Honey pie were written almost simultaneously. The wild one was a sort of try out. Paul had this idee of the silver screen stars of the roaring twenties who reminded him off his mother who died when he was very young. I made a raw version in the wild one and this, more sophisticated version. Here the silver screens stars are in color and are assembled in a kind of frame. She (Rita Hayworth) is trying to look sensual behind a golden sheep fur.

Ink, watercolour, acryl, goldpaint, collage

The white album

169 Savoy truffle (Harrison, 1968)

George warned his friend Eric (Clapton) not to eat so much candy. You’ll have all teeth pulled out! A drawing of a wide open mouth with dentist instruments and candy flooding all over is the result. To make it a bit nasty it is not in colour but black and white.


The white album

170 Cry, baby, cry (Lennon, 1968)

Lennon used an old nursery rhyme. The king of Marigold is in the kitchen, cooking breakfast for the queen. The queen was in the parlour, Playing piano for the children of the king. It all sounded like a fairy tale. So I made children king and queen, playing with a toy kitchen, a toy bucket, shovel and rake (garden), birdie toy and a painting where a marigold is painted. A bee is on the palet.


The white album 

171 Revolution no. 9 (Lennon/McCartney, 1968)

The soldiers were battling in the war in no.1, the civilians were the victims in no.9. The famous picture of the napalm girl was made in 1972. It is such a dramatic image of this war that I couldn’t resist using it. A bigger contrast with the well equipped and well clothed soldiers wasn’t possible. On the photograph there are more children running and soldiers too but I put the girl alone with a napalm explosion in the background. The last lines in the song are almost a prediction of this occurrence.


The white album

172 Goodnight (Lennon 1968)

This song was composed for John’s son Julian but on this last song of the white album it is sung by Ringo. Ringo made a beautiful ballade of it and I made a drawing that is a bit like a fairy tale. Pink collars, a sweet sleeping boy (one of my sons), a moon and twinkling  (Ringo Starr) stars.

Ink, markers

The white album 

173 Hey Jude (McCartney, 1968)

Paul was on his way to visit Cynthia. John and Cynthia were splitting up and he felt sorry for Julian. Hey Jules (Julian) don’t make it bad, take a sad song and make it better. It was optimistic, a hopeful message for Julian who many years later discovered that this song had been written for him. When finishing the song, Paul changed Jules to Jude, one of the characters in the movie Oklahoma. When John heard the song he thought the song was about him. The angel in John was blessing him while the devil didn’t approve at all. The angels and devils in my collage are carrying children, and John and Paul are carrying Julian. “The movement (Julian?) your need is on your shoulder”. In the lower centre is the Lennon family, torn in three pieces with devils grinning. 



174 Revolution (Lennon/McCartney, 1968)

I drew the three Revolutions in sequence. First the soldiers (no. 1 on the white album), then the civilians who are the real victims (no. 9 on the white album) and finally the people who turned their engagement via disbelieve in well heard protest (the single version). There had to be many dead soldiers and many dead civilians before the mass protests were finally heard and effective. 


175 Only a northern song (Harrison, 1967)

Dick James and George Martin are the biggest shareholders of Northen Songs Ltd, a music publishing company Paul and John also had a small part in. All the songs made by the Beatles were owned by this company so also all the rights, including George’s songs! He didn’t like that at all and complained about it in this song. Because it was on the Yellow Submarine album I used the characters of the comic movie and added Dick (with hat) and George Martin (as the captain). In the background golden discs. Dick and George are leering at each other while George’s hand forms a pistol.


Yellow submarine

176 All together now (Lennon/McCartney 1967)

This song is credited to McCartney. McCartney described the song as a children's sing-along with the title phrase inspired by the music hall tradition of asking the audience to join in. He also described a "sub current" in the song, a dual-meaning where we are all together now. There is a line in the song sail the ship, cut the rope. That gave me the idea of a boat, a paper boat, floating on the water. I printed the song and made the boat, so you can read words of the song as well. As a joke it also illustrates the process how to fold a paper boat.


Yellow submarine

177 Hey bulldog (Lennon/McCartney, 1968)

Strange as it is. The song is addressed to a sheepdog, the same breed as Paul’s Martha. (see ‘Martha, my dear’) But  on the other end it ends with: “Hey Bulldog!” That’s why I’ve chosen for a bulldog. The dog looks sad, not hard for a bulldog. He is invited to say something but even “woof” is too much to ask.


Yellow submarine

178 It’s all too much (Harrison, 1968)

George was using LSD when he wrote this song. Maybe that’s why the song is a bit chaotic. George is seeking himself but without a clear mind. Floating down the stream, and a birthday cake together with a silver sun completes my illustration in gouache.

Gouache, acryl

Yellow submarine

179 The ballad of John and Yoko (Lennon, 1969)

It was John and Yoko’s honeymoon. They planned to marry in Paris but there were complications. So they married in Gibraltar. On their way back they dinned with Salvador Dali before their seven day sleep-in in the Amsterdam Hilton. John sang: they’re gonna crucify me. The press wrote: they look like two gurus in bed. I made a drawing of the two in bed, their hair a mess, Dali’s crucifix above their heads. Drawings of John’s and slogans are all ove the drawing.



180 Old brown shoe (Harrison, 1969)

The inspiration for this song came from a chord sequence on the piano. In the song you can hear the Challen ‘jangle box’ (a kind of honky-tonk piano). I have therefore chosen for an old honky-tonk piano in miserable condition. Often those pianos could be found in obscure pubs and were played by smoking and drinking pianists whose task it was to play as loud as possible. On the piano there’s a music sheet with notes referring to the lyrics of Old Brown Shoe.

Ink, watercolour


181 Come together (Lennon/McCartney, 1969)

“Come together, join the party” was de campaign slogan of Timothy Leary. Leary had asked John the write the campaigning. John agreed but Leary was arrested during the campaign because of drugpossession. John was not committed anymore to Leary so he gave the song to the Beatles. I used the campaign poster of Leary and switch the portrait of Leary for the groupportrait of the Beatles. The four don’t look like they will soon come together:). 

For the rest I used the same lettertype and the words Come Together and background as on the original poster.

Ink, marker, collage

Abbey road

182 Something (Harrison, 1969)

Something in the way she moves, attracts me like no other lover. Women silhouettes moving in moving music lines with the notes of the song. Silhouettes because of the diffusion wether you see the front of the back. Sure there is something.


Abbey road

183 Maxwell’s silver hammer (McCartney, 1969)

Maxwell beats the brains out with his silver hammer in this nonsense’s song of Paul McCartney. As a teacher, the imposition was an extra impuls to work on this drawing!.Although the lines didn’t help at all. With the silver hammer, the bloodstains and the line the image was clear.

Ink, mixed media

Abbey road